Source: The English National Opera; The Valkyrie Production Gallery
Wagner’s Ring Cycle commenced in 1848 and took nearly 30 years to complete. The first performance of The Valkyrie “Die Walküre” was premiered in Munich in 1870 and it wasn’t until 1876 that the complete Ring Cycle was performed in Bayreuth under the baton of Hans Richter.
Rhinegold was the first opera in the Cycle and The Valkyrie was its second opera happening some 20 years later. Between the first two operas, we are led to believe that Wotan has bred a team of female warriors as Valkyries to ascend to Valhalla – the home of the Gods. He also bred the twins Siegmund and Sieglinde intending Siegmund to be a mythical saviour of the Gods. However, as Siegmund and Sieglinde meet and fall in love, they commit incest much to the indignation of Wotan’s wife and Goddess of Marriage, Fricka. She demands the death of Siegmund in his battle with Sieglinde’s violent husband Hunding and Wotan sensing his own downfall has no option but to obey. However, Wotan’s favourite daughter Brunnhilde in trying to protect Siegmund from death only draws Wotan’s anger. Wotan banishes Brunnhilde who knows that Sieglinde has escaped bearing the ‘noble hero’ in her womb – Siegfried - the third opera of the Ring Cycle. Brunnhilde passes into the enchanted sleep ready to be woken up in 20 years as a virgin bride by the innocent Siegfried. With more incestuous scenarios on the way!
The staging of the show was by the sometimes ”enfant terrible” of opera Richard Jones. This production was neither frightening nor terrible and it certainly was stronger than his 1994 effort for the Royal Opera House. It probably won't upset too many of cognoscenti either here in London or at the Metropolitan Opera in New York who co-produced this show.
The action takes place in rugged terrain with both first and second Act sets being log cabins of sorts designed by Stewart Laing. The first Act cabin is quite small and provides an unusual intimacy for both Siegmund and Sieglinde. In fact, the interaction between them in this first Act is quite beautiful and passionate with Jones clearly projecting the twins with many identical movements together. Sieglinde informs her twin brother that “this house and this woman are OWNED by Hunding” setting the scene for some testing moments between Siegmund and Hunding whose violence and attempted rape towards his wife was particularly disturbing. Thank goodness in today’s world we seem to have moved on from such unacceptable attitudes and behaviours.
In both the first and second Acts the cabins move to provide more substantial space for the artists on the stage, but the stage in the third Act is purely an empty space. This space is cleverly used by Jones and his choreographer Sarah Fahie with huge stage movement of the Valkyries and their horses with these chargers showing beautiful movement by a group of outstanding actors. Perhaps so far so good but Jones is never satisfied with mundane and so he and his designer opt for downright ridiculous costumes including a red anorak lumberjack for Wotan and a modern pyjama effect for Brunnhilde. Surely Wotan as King of the Gods deserves a costume reflecting his authority? The rest of the cast wear “at home” comfy outfits apart from Fricka who was beautifully elegant and the Valkyrie whose green space-age outfits looked fairly outrageous. There is also a peculiar “Riverdance” interpretation during the third Act “Ride of the Valkyries”. The Valkyrie’s chargers were cleverly done in that same Act and if the fire that was meant to surround Brunnhilde had worked then the finale could have been outstanding. Some good, some bad but perhaps a production like this should never be finally judged until the second or third revival.
ENO at least put together a great group of British singers. Nicky Spence stared as Siegmund singing as if he owned the role and had performed this many times before. Of course, he like others were new to their roles. The nasty Hunding was thrillingly sung by the bass Brindley Sherratt. If you ignored the red anorak, you could enjoy the physical intensity and presence of Mathew Rose’s Wotan. His sheer size matched his substantial vocal output. This was the third performance attended by the writer and this Wotan had vocally begun to own his role. If only the designer had recognised that Wotan was “King of the Gods” and not a forest woodman. Brunnhilde was a nimble and fresh sounding Rachel Nicolls and Fricka was an elegant unyielding Suzan Bickley whose role, due to indisposition on the opening night, was sung by the outstanding former Samling and Harewood artist Claire Barnet-Jones whose masterclass teacher was the former Wagner’s specialist Anne Schwanewilms.
For this performance, Anthony Negus, the Wagner specialist and Music Director at Longborough took over as conductor from Martyn Brabbins. His outstanding sense of musicianship was evident right from the start with his intricate shades of light and dark, a compelling intensity and when required beautiful intimacy. His pace throughout was exemplary in a performance that long lingered into the night.
